Klarinet Archive - Posting 000364.txt from 2004/08
From: "Fernando Silveira" <fernandounirio@-----.com>
Subj: Re: [kl] Copland concerto and "swinging"
Date: Thu, 12 Aug 2004 19:31:13 -0400
Hi Tony and all. Fernando Silveira's speaking.
I could see that there are a discussion about play straight or not. I don't
want to discuss it in Copland Concerto. But, as I am finishing my doctorate
tesis on a subject similiar of that, I would like to expose some of I could
research. Below you will find the abstract of my work.
My main subject of study was if the "swing" of Brazilian popular music could
be applied to "classical" music wrote under the influence of the popular and
My research appointed out that you "should" use all cultural aspects and
informations about the popular influence for better performances.
All the best
Rio de Janeiro State Federal University
TITLE : "Concertino para clarineta e orquestra" de Francisco Mignone: um
estudo interpretativo sobre música brasileira. ("Concertino for clarinet and
orchestra" by Francisco Mignone: an interpretative study of Brazilian
By Fernando José Silveira
This research aims to study the "Concertino para clarineta e orquestra"
(Concertino for clarinet and orchestra) from the Brazilian composer
Francisco Mignone. Composed in 1957, this musical work was dedicated to the
Brazilian clarinetist José Botelho - its main interpreter - and was one of
the first Brazilian concert pieces for clarinet.
Historic aspects related to this piece were studied, comparing
three original manuscripts (orchestral score, orchestral reduction for
clarinet and piano and the clarinet part) assisted by the knowledge of
Mignone's musical and professional practice and by the testimony of the
clarinetist José Botelho. Musical structures were analyzed with tackling on
performance practice, realizing a study about the possible presence of
cultural aspects on the Brazilian musician's interpretation that could offer
further interpretative ways for the performer.
For that, it was analyzed performances of the third movement
from four different eminent Brazilian clarinetists, trying to identify those
interpretative choices that could be related to the cultural aspects of the
performance practice of Brazilian popular and folk music applied to the
classical music. As a result, could be appointed that for a rich and strong
interpretation of that piece, and of Brazilian music in general, is very
important that the performer knows about the performance practice of it's
music and culture and apply, thoughtfully, on musical works that could be
identified relationship with the Brazilian popular or folk music. It will
offer quality performances in agreement of the cultural aspects of the
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